Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mauritania and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1971.
I'm losing my edge.
To all the kids in Bologna and Madrid.
I'm losing my edge to the art-school Bremen kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the güiro sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Lebanon Hanover to the techno kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Aloha Tigers. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Skarface,
Tomorrow,
The Real Kids,
Avey Tare,
Magma,
The Golliwogs,
Blossom Toes,
Interpol,
The Modern Lovers,
Second Layer,
The Monks,
Saccharine Trust,
Banda Bassotti,
Bobby Byrd,
Camberwell Now,
48th St. Collective,
In Retrospect,
Ornette Coleman,
Black Sheep,
The Black Dice,
The Zeros,
Young Marble Giants,
Sam Rivers,
Pussy Galore,
Bobby Womack,
Scion,
X-101,
Television,
Terrestrial Tones,
Harry Pussy,
Strawberry Alarm Clock,
The Human League,
Eric B and Rakim,
Kango’s Stein Massive,
PIL,
Hasil Adkins,
T. Rex,
Dawn Penn,
Dead Boys,
The Detroit Cobras,
Ice-T,
New Order,
Grandmaster Flash,
Arab on Radar,
X-Ray Spex,
The Barracudas,
Man Eating Sloth,
John Foxx,
Orchestral Manoeuvres in the Dark,
Camouflage,
Negative Approach,
Lizzy Mercier Descloux,
Jerry Gold Smith,
Nils Olav,
The Cure,
Sandy B,
Joey Negro,
Tropical Tobacco,
the Swans,
Ultimate Spinach,
Black Pus,
Agent Orange,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.